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1 



I 



WILLIAM J. CROMIE 
Instructor in Gymnastics, University of Pennsylvania, Philadelphia. 




iiUcT 

SpALDiiNG " Red Cover " Series of ^ — i r-i i — ' 




Athletic Handbooks No. 68R 



Parallel Bar 
Exercises 



BY 

WILLIAM J. CROMIE 

INSTRUCTOR IN GYMNASTICS 
UNIVERSITY OF PENNSYLVANIA, PHILADELPHIA 



(5=*;:s=3> 




PUBLISHED BY 

AMERICAN SPORTS PUB 
COMPANY 
I Warren Street, , 



BY 

PUBLISHING f) 

New York cZ !Z 'ZT 



(^ VS 3 b 



COPYRIGHT, 1916 
BY 

A.MERICAN Sports Publishing Company 
New York 



4 






M 2\ 1916 

©aA431588 



INTRODUCTION. 



I have examined the exercises and the illustrations with care 
. and much pleasure, as I felt that this little booklet is an encour- 
aging sign of the increased interest that the different forms of 
^^r- apparatus work are receiving. Those of us who have found much 
J- pleasure is being able to do all possible and impossible "stunts" 
' ' upon all forms of apparatus feel a warm glow spreading over us 
•^^ when we notice this revival of gymnastic skill, this striving for 
form and finish, as exemplified in this booklet. It may be that 
some critics will ask what these exercises are good for, yes, that 
they will question the hygienic value of some of them, or, worse 
still, tell us that some positions are positively harmful from a 
corrective point of view. But what are such quibbles to a young 
man who feels the power and the glory of his strength when he 
swings up to a handbalance, and who feels the thrill of vigorous 
life tingling through his body ? 

It is time that a decided stand be taken by all normal men 
that the mental value, the pleasure and satisfaction derived from 
doing many forms of gymnastics has fully as great a value as the 
exercises have that are undertaken from any other point of view. 
Let us hope that young virile manhood will never fall to the level 
of looking upon gymnastics from the "prescription" standpoint. 
Therefore, may this little booklet be a guide for courageous 
students who wish to acquire bodily skill for the fun and enjoy- 
ment there is in it. 

WILLIAM A. STECHER, 

Director of Physical Education 
in the Public Schools of Philadelphia. 



SPALDING'S ATHLETIC LIBRARY. 




Figure i. 



SPALDING'S ATBLETIC LIBRARY. 



FIGURE NO. I. 

(i) Approach. Cross stand at end of bars, inside grasp, body 
erect. 

(2) Proper Form. Chest out, chin in sHghtly, legs straight 
and together, toes pointed. (Cross rest.) 

(3) Dismount. Half squat, hand on hip, other hand grasping 
bar. (Half knee bend.) 

(4) Ending. Come "to attention," as in figure. 



FIGURE NO. I. 

Correct Position on the Bars. 

Chest out strongly, chin drawn in, back arched, legs together 
and toes pointed. Maintain good form in all exercises performed 
on the parallel bars. A simple exercise with proper approach, 
good form, fine execution and a perfect dismount is preferable 
to a difficult exercise improperly performed; in fact, good form 
makes the exercise. 

In the dismount, always perform a, half squat and quickly 
come to "attention." Place hand on hip, higher than in the 
illustration, with arms raised front or side horizontal, as the 
performer prefers. We consider hands on hips the easiest and 
most natural. Hold to the bar where possible, as this prevents 
falls. 



^ SPALDING'S ATHLETIC LIBRA nV; 




Figure 2. 



SPALDING'S ATHLETIC LIBRARY. 



FIGURE NO. 2. 

Uprise. 
From Position i (upper arm hang) swing legs front, as in 
Position I , and uprise to cross rest on backvv'ard swing, as in 
Position 2. 

Position. Bend body at waist only, legs straight and toes 
pointed. Do not bend anus. 

Conibi lations. Uprise and front roll (change grasp). 

Uprise to shoulder balance (change grasp). 
Uprise to forearm balance (change grasp). 
Uprise to hand balance (change grasp). 
Uprise and straddle both bars to (Position i) 
again. 
From upper arm hang at end of bars, facing out, uprise and 
straddle off to mat. (A big swing will enable one to clear the 
bars.) 



10 SPALDING'S ATHLETIC LIBRARY. 




Figure 3. 



SPALDING'S ATHLETIC LIBRARY. 11 



FIGURE NO. 3- 
The Straddle Off Or "Cut Off." 

From Position t (cross stand) swing up between bars and 
straddle off, as in Position 2, to Position i. Keep the legs 
straight, and lean slightly backward The straddle off is not 
difficult, but do not start it and then change your mind. Practice 
with one leg at first, or have assistance. 

((7) Straddle on with right leg and off with left, simul- 
taneously. 

{b) Straddle on with left leg and off with right, simul- 
taneously. 

(c) Straddle off with J/ right or left turn. 

From cross stand (Fig. i, Position i) almost to back hang 
position, straddle wrists and regrasp bars without body touching 
floor. Begin as in Figure 24, Position i, to Position 2, then 
straddle and catch bars. 

Combination. From cross rest (Figure 24, Position 3) drop 
back as in Position 2, cut and catch. 

Cut and catch, upstart and shoulder or hand balance or 
front roll. 



12 SPALDING'S ATHLETIC LIBRARY. 




Figure 4. 



SPALDING'S ATHLETIC LIBRARY. H 



FIGURE NO. 4. 
Straddle On or Cut On. 

Commence as in Position i with right leg from outside of 
right bar, straddle keeping legs together till the straddle. Same, 
left leg. Bring legs up as high as possible, legs straight, toes 
pointed. 

Another way is to grasp the bars, then jump on the bars, 
"leap-frog" fashion, grasping behind you, simultaneously. Prac- 
tice rising higher, and eventually the exercise can be executed 
as in figure. 

(a) From Position i swing both legs from outside of right 
bar to Position 2. 

{b) Same, left. 

(r) From Position i swing both legs from outside of right 
bar, and rear vault over both, 
(d) Same, left. 

Combination. Straddle on, hold as in Position 2 and strad- 
dle off. 
Straddle on, hold Position 2 and front roll, roll 
upstart shoulder or hand balance, etc. 
The straddle on makes a good beginning for many combina- 
tions. A number of straddles on and off, in quick succession, 
look well. 



14 



SPALDING'S ATHLETIC LIBRARY. 




Figure 5. 



SPALDING'S ATHLETIC LIBRARY. U 



FIGURE NO. 5- 
''Muscle Grind." Back Elbozv Hang. 

In performing the "muscle grind," keep chin in to chest or 
head will strike further bar. 

From Position i back elbow hang, swing up to back on bars; 
grasp far bar and roll backward as in Position 2 to mat. 

Be careful upon dismounting, as it is difficult to hold one's 
balance. 

The last part of this exercise can be used as a finish in a 
number of combinations. 



16 



SPAlvDiNG'S ATHLETIC LiBRARt. 




If. 



Figure 6. 



iPALDlNG'S ATHLETIC LiBRARi, 



FIGURE NO. 6. 
Back Rest, Catch Far Bar With Hocks. 
From back rest, Position i, swing back as if to perform a 
back circle, Position 2; catch far bar with hocks, place toes 
under bar, as in Position 3, and swing up to rest. 

This should be accomplished in one swing. Be sure to get 
toes under bar, or you will slide off. 

From Position 3 to rest, body should be erect, chest out and 
head back. It makes a nice beginning for a combination. 



18 



SPALDING'S ATHLETIC LIBRART. 





1 



Figure 7. 



SPALDING'S ATHLETIC LIBRARY. 19 



FIGURE NO. 7. 
From cross rest, facing as in Position i, swing and perform a 
complete turn, right or left, and regrasp the bars, as in Position 
2, It makes a good beginning for a combination. 



SPALDING'S ATHLETIC LIBRARY. 



i 


#7 


li 



i^IGURE 8. 



SPALDING'S ATHLETIC LIBRARY. .21 



FIGURE NO. 8. 

Hand Spring at End of Bars. 

(a) The easiest way to learn this exercise is to sit astride 
the bars (cross riding seat) as in Position i, raise the body, as 
in Position 2, bend a little more at the waist and give a quick- 
push, and draw the feet under the body, while alighting. 

(b) Swing between the bars, and bend the body as in Posi- 
tion 2. 

(c) Swing between the bars, without bending at elbows, and 
handspring. 

Combination. Handspring from uprise and upstart, also from 
elbow, shoulder and hand balances. In the center of the bars, 
a hand on each bar (cross rest), handspring, landing in upper 
arm hang. (Upper arm hang, Fig. 23, Position i.) 



SPALDING'S ATHLETIC LIBRARY. 




Figure 9. 



SPALDING'S ATHLETIC LIBRARY. 



FIGURE NO. 9. 

Hand Spring Over the Parallel. 

Practice this exercise over the low horizontal bar. Place a 
string about the same distance as the second parallel bar, and 
handspring over it, and thus become accustomed to tbe move- 
ment. The head should be down well between the bars, the 
arms bent and the legs straight, as in the illustration. When 
about to push away from the near bar, arch the back strongly, 
and straighten the arms and clear the far bar. 

From a hand balance, sink to position as in figure, and hand- 
spring. 



24 SPALDING'S ATHLETIC LIBRARY. 




Figure io. 



SPALDING'S ATHLETIC LIBRARY. 



FIGURE NO. 10. 

Jump Bctzaren the Hands. 

Practice this exercise over the vaulting bar about chest high, 
and raise bar until it is the height of the parallel bar. Squat 
vault (between the hands) over near bar, then over far bar, as 
in Position i. 

From between the bars, squat backward. Squat vault over 
near bar, straighten legs and clear far bar, as in Position 2. 



SPALD\NGS ATHLETIC LIBRARY. 




Figure ii. 



SPALDING'S ATHLETIC LIBRARY. 



FIGURE NO. II. 

Straddle Vault Over the Parallels. 

(a) From Position i, straddle over near bar; Position 2, 
drop between; (b) Straddle over far bar. 

Practice over a vaulting bar, as in the preceding exercise. 

Straddle over both bars without "dropping" in between. 

The straddle over both bars must be done when one is fresh, 
as it requires agility and nerve. The principal thing to remem- 
ber is that the hands should jump to the second bar much 
before the legs. 



28 



SPALDING'S ATHLETIC LIBRARY. 




Figure 12. 



SPALDING'S ATHLETIC LIBRARY. 29 



FIGURE NO. 12. 

Under Near Bar and Over Far Bar. 

Practice this exercise by short underswings on the low hori- 
zontal over a string. Place the cord the distance of the parallels 
and the horizontals, the proper height. 

This can also be accomplished from a hand balance. 

Get a good arched back position, as in figure. 



SPALDING'S ATHLETIC LIBRARY. 




Figure 13. 



SPALDING'S ATHLETIC LIBRARY. 



FIGURE NO. 13. 
Forward Roll. 
From cross rest position, swing to Position i, then bending 
from the waist only, knees kept stiff, forward roll, as in Posi- 
tion 2. The man in Position 2 is about to release his grasp. 
Keep the elbows well projected over the bars. 

In learning the forward roll, abduct the legs and roll to riding 
seat upon bars. 

Arched Back Forzvard Roll. 

Swing to Position i and, instead of bending at waist, as in 
Position 2, arch back, as in Figure 14, Position 2, and hold 
this position throughout. 

This is a very difficult exercise owing to the fact that the 
tendency is to bend at the waist, as in the illustration. 

It is worth the trouble to master it, as one can, with the 
proper impetus, perform a number in succession or alternr.tc 
with a hand balance. 

Front roll, bend at waist, chin to chest; roll to hand balance. 



32 



SPALDING'S ATHLETIC LIBRARY. 




SPALDING'S ATHLETIC LIBRARY. 33 



FIGURE NO. 14. 

Backzvard Roll. 
'From upper arm hang (Figure 22, Position i) roll backward, 
abduct thighs, roll to cross riding seat (Figure z^, Position 2) 
on bars. 

To get a back roll, as in figure, start with a good swing, arch 
back strongly, legs straight and toes pointed. When in the 
shoulder balance position (Position 2), release grasp and extend 
arms as in Position i. 

A number may be performed in succession, and a roll off end 
of bars as finish. 

Keep a firm hold of the bars ; do not let the arms move .about, 
and project the elbows outward. 

Combinations. Forward rolls, backward rolls. 

From shoulder or hand balance backward rolls. 
From cross stand at end of bars long under- 
swing upstart to hand balance, walk across 
bars in hand balance position, 5^ right or left 
turn, front rolls and finish with the backward 
rolls. 

"Flying" Backward Roll. 

When in Position 2, the body must be thrown with great im- 
petus upward and slightly backward, release grasp, and, when 
above the bars, regrasp. 

When Figure 26, Position 2, is reached, push to hand balance. 

From hand balance "flying" backward roll to hand balance. 



SPALDING'S ATHLETIC LIBRARY. 




Figure 15. 



SPALDING'S ATHLETIC LIBRARY. s£ 



FIGURE NO. 15. 

Forearm Balance. 
From elbow rest, Position i, swing up to forearm balance, as 
in Position 2. 

In this exercise, take a tight grasp, the thumb and elbows on 
the inside of the bars, bending well from the waist. 

Combinations. From the end of the bars, forearm balance and 
handspring to mat. 
From forearm balance to hand balance; return 
to forearm balance. 



SPALDING'S ATHLETIC LIBRARY. 




Figure i6. 



SPALDING'S ATHLETIC LIBRARY. 



FIGURE NO. i6. 

Shoulder Balance and Pirouette. 

Pirouette Betzveen the Bars. 

From Position i move all the weight of the body to the left 

bar, as in Position 2; now reverse the grasp of the right hand, 

turn the body to the left, place the left hand on the right bar, 

reverse grasp, as in Position 3. Then place the right hand close 

to the right shoulder, ordinary grasp on left bar, and assume 

reverse position of Position i. 

Pirouette to the right, then left, and come back to starting 
position. 

Pirouette, as in illustration, but, instead of performing it 
between the bars, raise the head, while in Position 2, above the 
bar, then outside bar, and proceed as indicated. 



38 SPALDING'S ATHLETIC LIBRARY. 




Figure 17. 



SPALDING'S ATHLETIC LIBRARY. 39 



FIGURE NO. 17. 

The Drop Back Szving. 

From Position i half back lever, elbows close to body, drop 

back as in Position 2 and turn over to mat. Practice this until 

you become accustomed to the movement, keeping legs and arms 

straight throughout. 

Swing back with greater impetus, until the head and shoulders 
come up between the bars; release grasp and regrasp, and again 
come to Position I. 

The Drop Back Szuing from Hand Balance. 
From the hand balance, keep the body very stiff, until the 
front horizontal above the bar (Figure 22) is reached. Now 
bring the legs forward, bending from the waist only, until Posi- 
tion I is reached, and perform the drop back swing as described. 
Push to hand balance and repeat. 



40 



SPALDING'S ATHLETIC LIBRARY. 




Figure i8. 



SPALDING'S ATHLETIC LIBRARY. 



FIGURE NO. i8. 

The Half Backward Balance. 
This exercise is more a test of strength than of balance, and 
can be used in combination with some of the slow movements. 
Combinations. Perform Figure i8, then 19. Commence as in 
Figure 19, Position 5 ; execute Figure 18, 
then 20. 
Perform Figure 18, then 20, followed by 19. 



42 



SPALDING'S ATHLETIC LIBRARY. 




SPALDING'S ATHLETIC LIBRARY. 43 



FIGURE NO. 19. 
Start as in Position i ; lower body as in Position 2 ; release 
grasp of right hand, extend legs, flex thighs, and turn to the 
left until Position 3. is reached. (Bent arm half front lever.) 
Now assume Position 4 and finally come to Position 5. 

Combinations. Perform Figure 19, then Figure 26, and finish 
by executing Figure 22. 



44 



SPALDING'S ATHLETIC LIBRARY. 






Figure 20. 



SPALDING'S ATHLETIC LIBRARY* 45 



FIGURE NO. 20. 

From Position i (front half lever, hands grasping bar, as the 
left one in the illustration), legs and thighs raised front, pull 
up as in Position 2. Of course, the mail in Position 2 should 
be where the one in Position 3 is, right hand on end of bar. 
From Position 3 release grasp of left hand, turn body to the 
right, the weight of body supported by right arm. Continue 
turning until the other bar can be grasped, and come to Posi- 
tion 2 again. 

This may then be repeated upon left bar. In going from 
Position I to 2 when shoulders are slightly above the bars, lean 
well forward with head and chest. 



46 



SPALDING'S ATHLETIC LIBRARY. 




Figure 21, 



SPALDING'S ATHLETIC LIBRARY. * 4.1 



FIGURE NO. 21. 

Elboiv Lever. 
From hand balance, Position i, lower body until the weight 
rests upon right elbow, as in Position 2 ; then extend left arm, 
as in Position 3. 

Combinations. From Position 3 slowly revolve to right, grasp 
left bar, and sink to front horizontal, as in 
Figure 22. 
From Position 3 grasp left bar, push up to 
hand balance, and perform elbow balance 
upon left elbow. 
Revolve from right elbow to left. 



48 



SPALDING'S ATHLETIC LIBRARY. 




SPALDING'S ATHLETIC LIBRAftY. 4c 



FIGURE NO. 22. 

Front Horizontal. 
From a hand balance slowly descend to front horizontal or 
front lever. 
From cross rest (Figure 2^, Position 3) to front lever. 
Combination. From hand balance to front horizontal, turn to 

inverted hang, then back lever. 
Combine 18, 20, 19, 21, 22. 



50 



SPALDING'S ATHLETIC LIBRARY. 




Figure 23. 



BPALDINQ'S ATHLBTIO LIBBAB7. 



FIGURE NO. 23. 

Upstarts. 

Ordinary Upstart. From Position i swing legs forward until 
Position 2 is reached, arch back strongly, swing legs upward 
and downward, and push bars away with hands, keeping the 
arms straight to Position 3. 

Drop Upstart. From Position 3 drop back to Position 2 and 
upstart. 

Drop Betzveen the Bars and Upstart. From Position 3, Fig- 
ure 23, drop between the bars as in Position 2, Figure 24, and 
upstart. 

Quick Upstart. From upper arm hang. Position i, uprise at 
end of front swing without bending at waist to cross rest. (Posi- 
tion 3.) Reverse of Figure 2. (Page 8.) 

From Position 2, head to chest, snap to hand stand. 



SPALDING'S ATHLETIC LIBRARY. 




Figure 24. 



SPALDING'S ATHLETIC LIBRARY. 53 



FIGURE NO. 24. 

Upstarts. 
Long Underswing and Upstart. From cross stand at end of 
bars facing in, start as in Position i, swing forward until the 
body is straight, then bend body at waist, as in Position 2, and 
upstart to Position 3. 

Combinations. From all these different upstarts to hand 
balance. 

From cross rest at end of bars facing out drop 
upstart and hand spring. 

From cross rest drop back to upper arm hang; 
upstart t6 hand balance or hand spring. 

Begin as in a front roll and upstart. A suc- 
cession of front roll upstarts across bars 
and hand-spring off. 



54 



SPALDING'S ATHLETIC LIBRARY. 




Figure 25. 



SPALDING'S ATHLETIC LIBRARY. 55 



FIGURE NO. 25. 
Hand Balances. 
Standing Position on Bars to Hand Balance. Stand with the 
feet upon the bars, arms raised vertically, bend forward, grasp 
the bars without bending at knees, slowly raise legs, bending at 
waist until Position 2 is reached, and push up to hand balance, 
as in Position 3. 



56 SPAI.DING'S ATHLETIC LIBRARY. 




Figure 2b. 



SPALDING'S ATHLETIC LIBRARY. 



FIGURE NO. 26. 

From Cross Rest to Hand Balance. 

Push Up to Hand Balance. 

From cross rest, Position i, without a swing, and without 

flexing any part of the body except the arms, push up, as in 

Position 2 to hand balance, as in Position 3. 



58 



SPALDING'S ATHLETIC LIBRARY. 




Figure 27. 



SPALDING'S ATHLETIC LIBRARY. 



FIGURE NO. 27. 
Hand Balance Pirouette. 
In the pirouette, commence as in Position i, release grasp of 
right hand, put the greater part of the weight of the body on the 
left hand, and grasp left bar with right hand, as in Position 2. 
Then shift the weight of the body on the right hand, release 
grasp of right hand, and regrasp left bar and the pirouette is 
complete. A number in succession may be performed. 



60 



SPALDING'S ATHLETIC LIBRARY. 




Figure 28. 



SPALDING'S ATHLETIC LIBRARY. 



FIGURE NO. 28. 
From Hand Balance Jump to Far Bar. 
Get a spring from the first bar sufficient to carry the body to 
the second. Grasp the far bar with back well arched. 



SPALDING'S ATHLETIC LIBRARY. 




Figure 29. 



SPALDING'S ATHLETIC LIBRARY. 63 



FIGURE NO. 29. 

One Ann Hand Balance. 
The hand balance upon one hand takes a great deal of practice 
to accomphsh, and is hardly worth the effort it requires. Lean 
well over to one side, and, when well-balanced, release the grasp 
of the other hand. Keep the arm very still and push away from 
the bar in case you fall. 



64 



SPALDING'S ATHLETIC LIBRARY. 




Figure 30. 



SPALDING'S ATHLETIC LIBRARY. 



FIGURE NO. 30. 

The Straight Balance. 
Perform an ordinary hand balance, bring the head forward 
until it is between the arms. When you can see your toes, you 
have it. Return to ordinary balance, and repeat Figure 30. 



SPALDING'S ATHLETIC LIBRARY. 




Figure 31. 



SPALDING'S ATHLETIC LIBRARY. 67 



^ FIGURE NO. 31. 

Slow Circle to Hand Balance. 
Place the arms on the bar, as in Position i and, with the 
strength of the arms, bring the body over until it is above the 
head, rise and circle to hand balance. It is easier to execute 
at the end of the bars. 

The grasp of the hands must be shifted, when one gets above 
the bar, just before the push up to balance. 



SPALDING'S ATHLETIC LIBRARY./ 




Figure 32. 



SPALDING'S ATHLETIC LIBRARY. 



FIGURE NO. 32. 

Straddle and Catch from Hand Balance. 

From hand balance, Position i, bring the legs astride of the 
wrists, Position 2 ; slightly bend the arms, and straddle to Posi- 
tion 3, half back lever. Practice from a cross rest position. 

This may be accomplished at the end of the bars, but is much 
more difficult. At the end, after straddling the wrists, straighten 
the body, lean slightly backward, and regrasp the bars. 



70 



SPALDING'S ATHLETIC LIBRARY. 




Figure 33. 



SPALDING'S ATHLETIC LIBEAE3t. 71 



FIGURE NO. 33^ 
Back Hand Spring. 

Practice swinging as in figure, and thus become accustomed 
to the swing, before attempting the hand spring. Use a sus- 
pended hmger, or have a couple of men assist, one at each 
shoulder. 

Retain your grasp upon the bars as long as possible, keep the 
arms stiff, bring the feet over the head, and give a quick push 
away from the bars, and alight upon the feet. 

This can also be accomplished from a hand balance. 

IN ALL EXERCISES INVOLVING ANY RISK, SECURE 
ASSISTANCE. 

"Make haste slowly." 



I 




Spalding " Red Cover" Series of 
Athletic Handbooks No. 68R 




HORIZONTAL 
BAR EXERCISES 



Br 



WILLIAM J. CROMIE 

Instructor in Gymnastics 

University of Pennsylvania 



ib 



PUBLISHED BY 

AMERICAN SPORTS PUBLISHING 

COMPANY 

21 Warren Street, New York 




SPAI^DING'S ATHLETIC LIBRARY. 



FOREWORD. 



THE horizontal bar, from the standpoint of both 
performer and spectator, is the most popular 
piece of apparatus in our modern gymnasium. It is 
the key to all other pieces, because proficiency upon 
it makes work and skill in acquiring feats upon the 
rings, trapeze and other suspended appliances easy. 
It requires agility, balance and co-ordination rather 
than strength. There is nothing in gymnastic work 
more pleasing to the spectator or gratifying to the 
performer than the graceful, downward sweep of a 
giant circle, the easy shift of the hands, the seeming 
recklessness of one above the bar as he pivots or per- 
forms a pirouette in changing the direction of the 
circle, and all this apparently without an effort. 

There has been more progress upon the horizontal 
than the other pieces of apparatus, due to the fact 
that much improvement has been made in the bar 
itself. It has not been many years since the two-and- 
a-half inch diameter bar was in vogue. Most of the 
exercises then performed were feats of strength. 
Many gymnasiums still have a large wooden bar with 
a steel core and it has too much spring or play for 
advanced circles. 

It is difficult to ascertain the origin of the bar, but 
without doubt it evolved from the early work per- 
formed upon the branches of trees. It is very prob- 



SPALDING'S ATHLETIC LIBRARY. 

able that ''Father" Jahn in 1810, during the rambles 
he and his students took through Germany, resorted 
to ''turning" of this nature. 

The floor pieces of gymnastic apparatus, such as 
the parallel bars, side and long horse, and ground 
tumbling, should be used in conjunction with the hor- 
izontal bar and other suspended pieces in order to 
secure a more symmetrical development of the body. 

The exercises contained in this book are not for 
beginners, but rather for advanced workers, and in 
all movements involving risk assistance should be 
had, together with plenty of mats and lungers. 

The text is rather lengthy in connection with 
some illustrations, because a hint here and there 
sometimes helps more than the photograph. There 
are so many combinations one can work up that more 
time has been given in suggesting the various move- 
ments rather than combinations. 

The editor desires to thank the members of the 
University of Pennsylvania Gymnastic Team who 
posed for the illustrations in this book. Dr. Eldridge 
L. Eliason, coach of the team, and Haeseler, photo- 
grapher, who took the photographs. 

WILLIAM J. CROMIE. 



SPALDING'S ATHLETIC LIBRARY. 77 



Figure 1. 

The most essential things in horizontal bar work 
are: Approach, smooth, natural combination of move- 
ments, proper form and a good dismount. 

In gymnastic competition a difficult, complicated 
piece of work is more valuable than an ordinary, sim- 
ple movement, still I would rather see a combination 
of elementary exercises in good form and continuity 
than the most complex movement performed in loose, 
''sloppy" form. 

In approaching the bar measure the distance with 
;he eye and do not look at it till about to grasp it. 
Some contestants, when about ten feet from the bar, 
2ommence looking at it as if they were fearful of its 
•/anishing. 

From Position 1 pull up to a bent arm hang and 
:ircle body backwards (Position 2) to a front rest 
Position 3), 







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Position 1. Position 2. 

Figure 2. 



SPALDING'S ATHLETIC LIBRARY. 70 



Figure 2. 

From Figure 1, Position 1, pass the feet between 
the hands, arch back, back hang, head down, as in 
Figure 2, Position 1, and pull up till body is in the 
back rest position (Position 2). 

This exercise can also be done in the swing. Pass 
legs between hands as in Figure 12, Position 2, ordi- 
nary grasp, heels against bar, swing, and at end of 
swing arch back sharply, pull and come to back rest on 
bar (Position 2). 

The last part of this exercise, Position 2, may be 
used as a dismount. Keep arms and legs straight^ 
chest out strong, and roll backwards to mat. 



SPALDING'S ATHLETIC LIBRARY. 



Figure 3. 



One of the first things one should be able to do 
well on the horizontal bar is the long underswing. 

Commence as in Position 1, chest out, legs straight, 
feet together and toes pointed. 

From side hang (Position 1) , pull up to bent arm 
hang (Position 2), keep legs straight, bring instep to 
bar (Figure 9, Position 2), and swing body away from 
bar as in Position 3. 

This is the easiest and best way to get a big swing 
for the uprise, full arm circles, etc. 

Good form makes the exercise. In the dismount, 
perform a half squat and quickly come to ''attention. " 
While doing the knee bending in finish of an exercise, 
hands may be placed on the hips, or arms held front 
or side horizontal, or rear, as the performer prefers. 
I consider hands on hips the easiest and most natural. 



Note.— When one alights on the floor, the knees should be bent to a squat 
and then come to attention as in Figure 15, Position 1. 




Position 1. Position 2. 

Figure 4. 



SPALDING'S ATHLETIC LIBRARY. 



Figure 4. 
Uprise, 

The underswing and uprise is an effective way of 
beginning an exercise upon the horizontal bar. Per- 
form the underswing as described in Figure 1. 

From Figure 3, Position 3, continue the swing, and 
at the end of the back swing pull in toward the bar 
quickly, keeping arms and body stiff. The greater 
the swing the easier it is to master this exercise. If 
one stops at the bar, the tendency is to double up in 
an undignified manner. If one follows one's inclina- 
tion he will naturally work into the next exercise 
(Figure 5). 




Position 1. Position ^2. 

Figure 5. 



SPALDING'S ATHLETIC LIBRARY. 85 

Figure 5. 
Backward Circle from a Front Resti 

One who expects to become an advanced worker 
upon the horizontal bar should practice, practice, 
practice, at this "short, clear circle." Many things 
depend upon a good knowledge of it, and nothing 
looks better than seeing it performed as it ought to 
be done. 

From a front rest, swing back as in figure (Posi- 
tion 1), with arms and legs straight and back hol- 
lov/ed. When the head is underneath the bar a sharp 
pull with the arms will shoot the feet and body over 
the bar (Position 2). At this point a quick shift of 
the hands should take place, from Position 2 to Posi- 
tion 1, arching the back again and return to Position 1. 

Perform Figure 3, then uprise (Figure 4), then 
circle as in present figure. 

Combinations. —Figures 3, 4 and 5. 

Turn Into the Sitting Position. 

As the shift of the hands is being made in the 
backward circle, make a sharp turn over the right 
side, releasing the left hand, and coming into a sit- 
ting position upon the bar. 




Position 1. Position 2. 

Figure 6. 



SrALDING'S ATHLETIC LIBRARY. 87 



Figure 6. 

Front Circle from Front Rest. 

In learning the front circle lean forward as in 
Position 1, with the thighs resting low against the 
bar. Circle forward, and when in Position 2 bend 
arms a little, keeping close to bar, and thighs press- 
ing against it quite hard. The more impetus the 
better. When in Position 2 make a quick shift of 
hands from below bar to well above bar, and this 
will bring one back to starting position. 




Position 1. Position 2. 

Figure 7. 



SPALDING'S ATHLETIC LIBRARY. 



Figure 7. 
Backward Knee Circle, 

The knee circles look very poor unless done in 
good form. 

Commence as in Position 1, arms straight, chest 
out, back arched, head back and toes pointed. 

A good backward swing will bring one from Posi- 
tion 2 to the starting position. 




Position 1. Position 2. 

Figure 8. 



SPALDING'S ATHLETIC LIBRARY, 



Figure 8. 
Forward Knee Circle. 

From Position 1 (reversed grasp), raise the body 
from the bar, circle forward, holding with the hocks. 

In the forward or backward one knee circle the 
other leg is extended and used as a lever to give mo- 
mentum. Practice with the one knee circle will aid 
in getting the above. 

In the one knee circle the leg is extended as in 
Figure 29. Keep leg as high as possible. 




Position 1. 



Position 2. 

Figure 9. 



Position 3. 



SPALDING'S ATHLETIC LIBRARY. 93 

Figure 9. 

Up start. 

The upstart is an exercise that requires more co- 
ordination than strength. Many strong men wonder 
why a mere stripHng can perform the movement with 
apparent ease, while much muscle seems to accomplish 
nothing. The trouble is that the strong man is too 
strong; he uses too much strength and not sufficient 
skill. Again, the novice tries the upstart too soon, 
and thus works against gravity. 

From Position 1 swing, bring insteps to bar (Posi- 
tion 2) , arms and legs straight. When at the end of 
the back swing, and about to start front, push the 
bar away, keeping arms stiff, and come to Position 3. 

Quick Upstart. 

Without a swing perform an upstart as indicated in 
Positions 1, 2, 3 (chest heave). 

Long Under swing and Upstart. 

From Position 3 long underswing to Position 2 
and upstart. 







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SPALDING'S ATHLETIC LIBRARY. 



Figure 10. 
Drop Upstart, 

From Position 1, keep arms and legs perfectly 
straight, drop to Position 2, and upstart to Position 3. 

Com6ma^to7i.— Under swing (Figure 3), uprise 
(Figure 4), backward circle (Figure 5), drop upstart 
(Figure 10), front circle (Figure 6), long underswing 
and upstart described under Figure 9, dismount with 
a flank or squat vault (Figure 14). 




Position 1. Position 2. Position 3, 

Figure 11. 



SPALDING-S ATHLETIC LIBRARY. 97 

Figure 11. 
Upstart luith Combined Grasp. 

Grasp the bar as in Position 1, right hand reversed, 
left hand ordinary grasp, and while swinging forward 
release the left hand, make a half left turn of body 
and legs to bar as in Position 2; upstart as in Position 3. 

This exercise may be performed either right or left; 
if right, the grasps are as above; if left, the right 
hand is ordinary and the left is the reversed grasp. 

Upstart with Crossed Hands, 

Cross the hands and grasp the bar. The strongest 
hand should be underneath, as the tendency in this 
exercise is to twist around. This is much more diffi- 
cult than the preceding upstarts. 

Upstart with One Hand, 

This is the most difficult of all the upstarts, as it 
requires plenty of strength and freshness. Not much 
swing is needed. The effort should be made while in 
Position 2, Figure 10. The right thumb and ribs on 
the right side will suffer at first, but, if you are strong 
and persistent, you will mount above the bar to a bent 
arm rest and, if not too heavy, eventually to a front 
rest. 




Position 1. Position 2. Position 3. 

Figure 12. 



SPALDING'S ATHLETIC LIBRARY. 99 

Figure 12. 
Upstart Backward. 

The backward upstart is a very pretty movement 
and can be used in a number of combinations. 

From Position 1 underswing and, while swinging 
backward, put feet between hands, and when at the 
end of the backward swing (Position 2), suddenly 
straighten body by throwing out chest strong and 
arching back, which will bring one to Position 3. 
The arms and legs should be kept stiff and the bend 
made at the waist line. 

Quick Upstart — A quick upstart performed back- 
ward is a rise to a back rest (Position 3) from a jump 
without a preliminary swing. 

Still Upstart— A still upstart performed back- 
ward is done from the back hang position, head down 
(see Figure 2, Position 1), and thighs flexed (Position 
3) without a swing. 




Position 1. Position 2. Position 3. 

Figure 13. 



SPALDING'S ATHLETIC LIBRARY. 101 



Figure 13. 

Front Circle From Back Rest. 

From Position 1, keeping the bar close to the back, 
raise legs forward a little to get momentum, and 
circle forward with body to Position 2, and finally to 
Position 3. After a little practice the arms can be 
held almost straight, and half a dozen circles, if nec- 
essary, can be made without a pause. 

Back Circle From Back Rest. 

From Position 2, Figure 2, circle backwards as in 
Position 1, back to Position 2. The grasp must be 
shifted in these circles in order to rise above bar. 



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Figure 14. 



SPALDING'S ATHLETIC LIBRARY. 103 



Figure 14. 
Squat Dismount. 

The following seven illustrations are various forms 
of dismounting or ending combinations. 

The accompanying figure is a squat dismount. Be- 
fore and while the feet are going between the arms 
the legs are of necessity bent, but before alighting 
they should be straightened as in figure. 

This may be used as an ending for the uprise, 
giant circle, etc. 




Position 3, 



Position 1. Position 2. 

Figure 15. 



SPALDING'S ATHLETIC LIBRARY. 105 



Figure 15. 
Dismount From Forivard Heel Circle. 

This exercise makes a very effective ending for a 
number of combinations with the reversed grasp of 
the hands. In the forward heel circle, go forward as 
in Position 1 and, when higher than in Position 2, or 
when the thighs are about horizontal with the bar, 
release the grasp and dismount, facing the bar. It is 
a much nicer looking finish to make a half right or 
left turn as in Position 3, but is much more difficult. 

Combination. —From a reversed giant circle, heel 
circle and dismount as described above. 




Figure 16. 



Position 1, 



SPALDING'S ATHLETIC LIBRARY. 107 



Figure 16. 

Layout and Dismount. 

Lie on the bar just above the buttocks (Position 
1), roll backward to Position 2. 




Position 2. 



Figure 17, 



Position 1. 



SPALDING'S ATHLETIC LIBRARY. , - . 109 



Figure 17. 

Back Somersault and Dismount. 

Sit on bar as in figure (Position 1) and back somer- 
sault to Position 2. This is a turn in the air ahght- 
ing on the feet. 




Position lo Position 2. 

Figure 18. 



SPALDING'S ATHLETIC LIBRARY. Ill 

Figure 18. 

Hock Dismount, 

A» From Position 1, sitting on bar, throw arms 
above head, arching back sharply; swing backward 
and downward as in Position 2, and, when up a Httle 
higher than in Position 2, release hold with hocks 
and alight on feet. 

B. From hanging posture (Position 2) hock dis- 
mount without swing. 

C. From Position 1 hock swing, and when to the 
position that legs should be released make a quick 
half turn right or left, release hocks and grasp bar 
with the hands. 

D. From a side hang position (Figure 1, Position 1) 
underswing and, while swinging backwards, abduct 
legs; straddle hands, hocks to bar; at end of back 
swing release grasp of hands, hock swing half turn 
right or left, release hocks and grasp bar. 

Hock Circle, 

E. From Position 1 swing down to Position 2, con 
tinuing circle to Position 1. 




Position 2, 



Position 1, 



Figure 19. 



SPALDING'S ATHLETIC LIBRARY. 113 

Figure 19. 
Back Fly a tv ay and Dismount, 

The back ''flyaway," or ''backaway," is a very 
graceful finish from the front giant circle. 

This is one of the prettiest exercises in connection 
with the horizontal bar if done in hollow back style. 
It is not a difficult exercise, but much care must be 
used in learning it. Practice swinging as in Position 
1 many times before attempting the trick. Lungers 
should then be used. The lunger is a wide belt around 
the waist to which a rope is attached at each side. An 
assistant at each side holding the rope will insure 
safety till the exercise is mastered. 

From Position 1 release grasp of hands, perform 
a back somersault in midair, landing on feet as in 
Position 2. 

Do not swing too high, as it tends to bring the feet 
upon the bar, and may result in a nasty fall. 

Do not swing as high as in figure, but to about the 
level of bar. 




Position 2. 



Position 1, 

Figure 20. 



SPALDING'S ATHLETIC LlBKAlii. 115 



Figure 20. 

Front Flyaivay and Dismount, 

Swing as in Position 1 for practice. The lungers 
should be used in attempting this flyaway. When the 
body is level with the bar it should be suddenly 
doubled up, knees brought to chest and hands to 
ankles. This will bring one in Position 2. It makes 
a very graceful dismount from the giant circle. 




Position 1. 



Position 2. 

Figure 21, 



Position 3. 



SPALDING'S ATHLETIC LIBRAR-ST. 117 

Figure 21. 

Shoulder Siving. 

This exercise looks to the spectator as if one's 
shoulders were being dislocated. 

Swing as in Position 2, with a reversed grasp of 
the hands, in order to become accustomed to the feel- 
ing it gives to the shoulders. 

When one can swing fairly high he may then com- 
mence the exercise. 

Sit on bar as in Position 1, reversed grasp and 
hands rather well apart. Swing legs forward and push 
off at the same time. Just before coming to Position 
2 he should swing the legs backward sharply, in order 
to obtain impetus sufficient to bring the body up al- 
most as in Figure 5, Position 1, to Position 3. The 
grasp should then be changed from the reversed to 
the ordinary. 

Com6^?2a^^ons.— Shoulder swing, backward circle 
(Figure 5), giant circle, etc. 




Figure 22. 



SPALDING'S ATHLETIC LIBRARY. 119 



Figure 22. 

Bach Lever. 

It is the ambition of most gymnasts to be able to 
do the "Planches/ ' or levers, so the next four illus- 
trations will be devoted to this phase of the hori- 
zontal bar. 

These levers are seldom well performed, the pre- 
vailing fault being too much bend in the body. The 
body is bent too much in the illustration, although 
the lowness of the camera and the angle from which 
it was taken accentuates the curve in the body. The 
levers may be used in slow combinations. 

In learning the back lever keep the hands close 
together, so that the arms may get a good hold of the 
shoulder-blades 




Figure 23. 



SrALDING'S ATILLETIC LIBRARY. 



Figure 23. 

Fro nt Lever. 

The front lever is the hardest one to hold for any 
length of time, especially if the body is straight. 
Very often these levers will be performed at an angle 
of 45 degrees, and the performer finishes red in the 
face and has led the spectator to believe it was the 
most difficult piece of work in the world. 

When a complicated, really hard exercise has been 
done well it looks smooth, rhythmic and easy. 

Practice with bent arms at first in the front lever; 
the hands should be over the center of gravity. The 
figure in the illustration has the proper posture, ex- 
cept that the chin should be closer to the chest. 

All these photographs were taken from the floor 
and, the bar being seven feet high, makes some of 
the illustrations appear wrong. 



SPALDING'S ATHLETIC LIBRAEY. 123 



Figure 24. 
One Arm Elbotu Lever, 

Practice the elbow lever on both elbows. Grad- 
ually shift the weight to the one arm, placing the 
elbow well in toward the center of the body; release 
the grasp of the other hand and extend arm aS in 
figure. 

Practice on low parallels. 



SPALDING'S ATHLETIC LIBRARY. 125 



Figure 25. 

One Arm Back Lever, 

Practice the back lever, shifting all the weight 
upon the arm which is to bear the weight. When 
one has practised this for some time, he should bring 
the arm well under the shoulder-blade as in figure, 
gradually releasing the other hand and extending 
arm as in Figure 25. An effective finish to this exer- 
cise is to revolve and come down slowly till the body 
is in a perpendicular position. 



SPALDING'S ATHLETIC LIBRARY. 127 



Figure 26. 

Circles. 

For want of a better name, I shall call this the 
hand, hock and instep circle. Commence as in Posi- 
tion 1, raise the body as high as possible, and swing 
down as in Position 2, using the arm as a lever. 

A good swing of the body will bring one back to 
Position 1. 




Figure 27. 



SPALDING'S ATHLETIC LIBRARY. 129 

Figure 27. 

Circles . 

''Instep.'' 

The various circles performed with the feet, viz. : 
instep, soles and heels, are very effective when well 
done. In the instep or toes circle (Figure 27), com- 
mence by doing an upstart, hands reversed to front 
rest; bend from waist, raise feet upwards until in- 
steps are under bar outside hands, then circle forward. 
From position in figure swing over forward, keeping 
arms and legs very stiff and with the thumbs around 
bar. 

After this circle has been mastered, commence 
from Figure 24, elbows well in toward centre of 
body, head back and body horizontal. As the body 
inclines over forward, suddenly double up from waist 
and catch bar with insteps as in Figure 24, perform 
the front circle and, instead of allowing the body to 
rest against bar on the return, endeavor to swing to 
the position of Figure 24 (both hands grasping bar), 
then repeat. 

An effective and beautiful exercise is an instep 
circle, then a giant circle. 




Figure 28. 



SPALDING'S ATHLETIC LIBRARY. 131 



Figure 28. 
Circles. 

Foot Circle. 

From the reversed grasp, thumbs around bar, 
stiffen knees, foot circle forward with considerable 
impetus, endeavoi to come up and around, bending 
the knees slightly while coming up. Alternate this 
exercise with giant circle. These circles are some- 
times called "feet swings." 

From ordinary grasp, foot circle backward. This 
can also be used in connection with giant circle. 




Figure 29. 



SPALDING'S ATHLETIC LIBRARY. 



Figure 29. 

Circles. 

One Foot Circle. 

From position of figure bend a little at knee of the 
extended leg. Keep foot held well aloft and circle 
forward. A very pretty movement is to change the 
leg upon each revolution, using the extended leg as a 
lever to obtain increased impetus, and bend arms 
slightly upon return to starting position. 

From position of figure, ordinary grasp of hands, 
circle upon one foot backward. 

A more difficult one foot circle is to have the foot 
upon bar outside of hands. This may be done either 
forward or backward. 

Circle forward or backward upon one foot, then 
change position of feet, with an occasional giant circle 
between. 




Figure 30. 



SPALDING'S ATHLETIC LIBRARY. 135 



Figure 30. 

Circles. 

Heel. 

The heel circle forward is very effective if done in 
good form. This exercise looks very dangerous if it 
follows a giant circle. 

From this exercise dismount as described under 
Figure 15. 

The heel circle backward is done with an ordinary 
grasp of the hands and the direction the reverse to 
that in Figure 30. 




^^ 


■c^ \ 


^ 






i 



CO 

O 



SPALDING'S ATHLETIC LIBRARY. 137 

Figure 31. 

Circles. 

Ordinary Giant Circle. 

The giant circle is one of those movements that 
appears more difficult than it really proves in prac- 
tice. It either frightens or fascinates the spectator; 
if poorly performed, it frightens; if well done, it fas- 
cinates. One should practice throwing the body in 
the hand balance from a low bar on the low parallels 
(illustrated in latter part of book) in order to become 
accustomed to this position. 

The greatest fault the beginner has in acquiring 
this exercise is the half-hearted way in which it is 
done, viz. : arms and legs bent, which makes double 
work for the performer. Start from a front rest 
(Figure 1, Position 3), and throw up into the balance 
with the fullest extension of the arms and body pos- 
sible. The higher up on the start, the more impetus 
one gets for the downward sweep. After one has 
passed underneath the bar and is on the front (Posi- 
tion 2), in a corresponding angle to that in which 
the start is made, it will be found that the hands are 
awkwardly held back under the bar. A sudden 
movement from the wrists to "shift" the hands is 
needed at this point, which will bring one above the 
bar as in Position 1. The essential thing to re- 
member is to keep the arms and legs fully extended 
and to describe as great a circumference away from 
the bar as possible while circling. 




CO 
H 



SPALDING'S ATHLETIC LIBRARY. 139 

Figure 32. 
Circles. 

Reversed Giant Circle. 

These circles have various names, such as ''full 
circles," 'arm's length circles," "great circles," 
etc. , but are best known as giant circles. 

The reverse giant circle, or "reverse arm's 
length," is not nearly so difficult as the ordinary 
circle, although neither are very hard to master if 
the proper conditions are observed. 

Start from front rest, reverse grasp of hands, 
thumbs around bar, and throw into a hand balance; 
when the body is falling away from the balance, as 
in Position 1, stiffen away from the bar as much as 
possible. Continue this while passing beneath the 
bar, when a pull, the result of the swing, will be 
noted that will take the body upward. 

If, in learning this circle, one fails to secure suf- 
ficient impetus through not stiffening in swinging 
down to carry one up on the opposite side, it may be 
necessary to bend the arms. This will bring one up 
in a bent arm balance, when it will be only necessary 
to straighten the arms and repeat. 

After a few trials one can keep the arms straight 
throughout the exercise. It is when one is in about 
the Position 2 that the pull is felt, and at this junc- 
ture the body should be well arched and the grasp of 
the hands shifted in order to rise above the bar. 





. CO 
G-> CO 



■B S 

o o 




SPALDING'S ATHLETIC LIBRARY. 141 

Figure 33. 

Ordinary to Reverse Giant. 

From Position 1, Figure 31, hands close together, 
front giant circle to Position 1, Figure 33, lean 
slightly over on the right arm, the body being turned 
quickly on its long axis toward the right hand, ac- 
complished by a sharp pull with the right arm 
(Position 2), the left hand now being released, again 
regrasps the bar in reversed grip (Position 3). 

^ Half Tu rn Above Bar. 

Having mastered the ordinary (ordinary grasp) 
giant circle, the half turn above bar may now be 
attempted. 

Commence the turn in ordinary giant when Fig- 
ure 31, Position 2, is reached, and make a half turn of 
body facing the bar in opposite direction, shifting to 
ordinary giant grasp; repeat the ordinary giant 
(ordinary grasp). This half turn of body above bar, 
either right or left, is made toward the last hand to 
be released. 

Sit on the bar, flex thighs as in Figure 14, feet 
back between hands, to hand balance ; ordinary giant 
to hand balance ; return to starting position. 

Alternate reverse giant circle with Figures 27, 28, 
29 and 30. The ordinary giant may also be alter- 
nated with the foot circles. 




Position 




Position 2. Position 3. 

Figure 34 



SPALDING'S ATHLETIC LIBRARY. 143 



Figure 34. 

From Reverse to Ordinary Giant 
{Pirouette). 

When higher than in Position 1, or obHquely up- 
ward with bar, reversed grasp, give a sharp pull on 
the left arm, body being turned quickly on its long 
axis toward the left arm, the right hand being re- 
leased (Position 2), is carried through half circle hor- 
izontally to Position 3, ordinary grasp, the left 
grasp being shifted from four to six inches to left, 
and one is now ready for the ordinary giant. 

It requires about two seconds to read this explan- 
ation, but takes about two years to master the 
exercise. 




Figure 35. 



SPALDING'S ATHLETIC LIBRAHY. 145 



Figure "5. 

Cross Hand Giant, 

In the ordinary giant, ordinary grasp of hands, 
when one comes to the hand balance position (Figure 
31, Position 1) lean toward the left in the beginning 
of the downward sweep, releasing the right hand, 
carry it four to six inches beyond the left hand and 
regrasp bar (Figure 35) . The body naturally twists 
on its long axis during its course beneath the bar. 
When arriving in Position 2, Figure 31, a sharp pull 
being exerted on right arm, the left hand released, 
the body is thrown to the proper position above the 
bar for the reversed (reversed grasp) giant circle. 



a 



SPALDING'S ATHLETIC LIBRARY. 



In every gymnasium wherein advanced work is 
done upon the horizontal, high parallels, rings and 
trapeze, a pair of low parallel bars should be acces- 
ible, in order that the aspiring gymnast may practice 
the hand balance, changing from one grasp to another, 
and the pirouette. There is no danger from falling 
at this height and it also accustoms one to the in- 
verted position of the body. 

Caution.— In all exercises involving risk, seek 
assistance. 



KKTtHE SPALDING 



TRADEMARK 



QUALITY 



SPALDING 
Gymnasium and 
Athletic Equipment 



Made of Best Materials 
Durable 
Comfortable 
Correct in Design 
Carefully Made 



A THLETIC UNIFORMS differ in construction from ordinary 
*^ clothes in that they must be especially strengthened in the 
parts bearing the strain. Only long years cf practical experience 
in making athletic uniforms can determine the weak spots. 

Spalding has had this experience and puts it into practice in 
their own factory, w^here these goods aic made. 

Those who wear them have told us they are durable and 
comfortable. 



CPALDING GYMNASTIC UNIFORMS have been used for 
years by colleges, schools, Y. M. C. A.'s, clubs, etc. 
Why? Because the leaders of such organizations and insti- 
tutions have discovered they meet the approval of those using 
them, thus eliminating friction between the director and his 
pupils or members. 

Why? Because the wearer is perfectly satisfied. 



WRITE FOR 

Spalding Catalogue 

CONTAINS A FULL LINE OP 

Shirts, Tights, Trunks, Shoes, etc. 
Suitable for Gymnasium ar?d Athletic Use 

FREE ON REQUEST 



PROMPT mENTION GIVEN n 
ANY COMMUNICATIONS ' 
AODIIESSED TO US 



A.G.SPALDING &. BROS, 

STORES IN ALL LARGE CITIES 



FOR COMPLETE LIST OF STORES 

SEE INSIDE FBONTCOVEB 

OF THIS BOOK 



FciM* ia effect Jaamiy i, 191|«. Subject t» chM«* vritkeut i 



sS^Ke THE SPALDING 




TRADEMARK "^IHr//^ 



SPALDING GYMNASIUM SHOES 

Gymnasium Shoes must be comfortable and easy, yet fit snugly and give the wearer a sure 

footing— they must also be durable. Spalding Gymnasium Shoes possess all of these good 

qualities and, in addition, are reasonable in price. 




No. 18 

Correct 

Shoes for 

Boxing 



No. 15. High cut, kangaroo uppers, 
genuine elkskin soles. Will not slip on 
floor; extra light. The correct shoes 
to wear for boxing. . , Pair, $5.50 




No. 155. High cut, elkskin soles, and 

will not slip on floor; soft and flexible. 

Pair, $5.00 




Spalding Special Bowling Skoes 

No. 148. For bowling and general 

gymnasium use. Light drab chrome 

^ tanned leather uppers; electric soles. 

Laces extremely low down. Pr.,$4.00 



No. 166 




l\o. 166. Low cut, selected leather, 
extra light and electric soles; men's 
sizes only Pair, $3.50 



N0.66L 




No. 66L. Women's. Low cut, extra 
light, selected leather uppers. Electric 
soles Pair, $3.50 




No. 21. High cut, black leather, elec- 
tric soles. Sewed and turned, w^hich 
makes shoes extremely light and flex- 
ible Pair, $3.00 




No. 20. Low cut, otherwise as No. 2\. 

Sewed and turned shoes. Pair, $2.50 
No. 20L. Women's. Otherwise as No. 20. 

Sewed and turned shoes. Pair,$2.50 



PROMPT AHENTION GIVEN TO I 

m COMMUNICATIONS 

ADDRESSED TO US 



A.G.SPALDING &. BROS. 

STORES IN ALL LARGE CITIES 



I FOR COMPLETE LIST OF STORES 

SEE INSIDE FRONT COVEB 

OF THIS BOOK 



PiicM ia •ffact Jtautrf 8, 1S16. Subject to cluu>(* without i 



I pricM. ■«• epedal C«B«di«n Catalogo*. 



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Efficient Gymnasium Apparatus 


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SPALDING SAFETY ADJUSTABLE PARALLEL BARS 

No. 400 

Patented U. S., July 16. 1912 ; November 26. 1912'; Patented Canada. March 5, 1912. 

Height Adjustment — Spring-pin and lever, with the pin automatically locked in. 
Can't snap out. 

Width Adjustment — Screw and traveling nut operated by turning hand wheel. 
Being always locked is always safe. 

Height Indications — Engraved on the telescoping uprights. 

Width Indicator — A small brass plate on each upright shows the width instantly. 

Ball Bearing Rollers — One under each corner. Two levers control the four rollers. 

Other Features — Platform Base ; Telescoping Uprio«hts of brass covered steel tubing, 
can't rust ; Hinged Rails of selected white ash, oval shaped ; all Castings fin- 
ished in black enamel. See next page. 

PRICES ON APPUCATION 

A.'G. SPALDING & BROS., Inc. 

CHICOPEE, MASS. 



SPALDING SAFETY ADJUSTABLE PARALLEL BARS 

No. 400 

Hinged rails provide flexibility. 




bearing 
swivel roller 
under each 
standard. 



One lever at each end of the base operates two 
ball bearing s^f.ivel rollers under the standards. 
Convenient operation and positive action. 



PRICES ON APPUCATION 



A. G. SPALDING & BROS., Inc. 

CHICOPEE, MASS. 




Spalding 
Efficient Gymnasium Apparatus 




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GALLERY BRACED HORIZONTAL AND VAULTING BAR 

No. 579 

The most efficient combination bar for rooms with gallery. Braced out eight feet— can be used 
for all V aulting and High Bar work. May be quickly and^asily hoisted to face of gallery as showt^ 
in phanton view. 

Uprights of brass covered steel tubing with our patented interior height indications. 

Bars of either Steel-Core Hickory or Solid-Steel, with patented " quick-set safety " caps. 

PRICES ON APPUCATION 

A. G. SPALDING & BROS., Inc. 

CHICOPEE, MASS. 



Spalding 
Efficient Gymnasium^Apparatus 




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GALLERY BRACED HIGH HORIZONTAL BAR No.580^9 i^T/ 

A very efficient Horizontal Bar for att^hment to gallery or to the wall. Of sturdy construction 
and well braced, quickly and easily hoisted to the face of gallery as shown in phantom. Steel cable 
guys with instantaneous turnbuckles. Bar of Steel-Core Hickory or Solid-Steel. 

PRICES ON APPUCATION 

A. G. SPALDING & BROS., Inc. 

CHICOPEE, MASS. 




GALLERY HORIZONTAL AND VAULTING BAR No. 560 

Similar in general construction to No. 554 Bar shown on preceding page, but 
is provided with a counterbalance weight so that the entire apparatus may be 
quickly and easily cleared from the floor. 

Uprights of braso covered steel tubing -with our^patented interior height indications. 

Bars of either Steel-Core Hickory or Solid Steel, with patented "quick-set 
safety" caps. 

PRICES ON APPUCATION 

A. G. SPALDING & BROS., Inc. 

CHICOPEE, MASS. 



# 


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HORIZONTAL AND VAULTING BAR No. 554 

One upright permanently attached to wall, the other guyed by steel cables 
with instantaneous turnbuckles. 

Folds so compactly it may be attached to posts or columns. 

Uprights of brass covered steel tubing with our patented interior height 
indications. 

Bars of either Steel-Core Hickory or Solid-Steel, with patented " quick-set 
safety caps. PRICES ON APPUCATION 

A. G. SPALDING & BROS., Inc. 

CHICOPEE, MASS. 





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SIX-GUYED HIGH HORIZONTAL BAR 
No. 586 

Especially adapted to high ceilings. May b^ quickly hoisted to ceiling b:' 
releasing instantaneous turnbuckles on floor guys. 

PRICES ON APPUCATION 

A. G. SPALDING & BROS., Inc. 

CHICOPEE, MASS. 



STANDARD QUALITY 

An article that is universally given the appellation "Standard" is thereby conceded to be the Criterion, to which are 
compared all other things of a similar nature. For instance, the Gold Dollar of the Unfted States is the Standard unit 
of currency, because it must legally contain a specific proportion of pure gold, and the fact of its being Genuine is 
guaranteed by the Government Stamp thereon. As a protection to the users of this currency against counterfeiting and 
other tricks, considerable money is expended in maintaining a Secret Service Bureau of Experts. Under the law, citizen 
manufacturers must depend to a great extent upon Trade-Marks and similar devices to protect themselves against coun* 
terfeit products — vrithout the aid of "Government Detectives" or "Public Opinion" to assist them. 

Consequently the "Consumer's Protection" against misrepresentation and "inferior quality" rests entirely upon the 
integrity and responsibility of the "Manufacturer." 

A. G. Spalding & Bros, have, by their rigorous attention to "Quality," for forty years, caused their Trade-Mark to 
become known throughout the world as a Guarantee of Quality as dependable in their field as the U. S. Currency is in its field. 

The necessity of upholding the guarantee of the Spalding Trade-Mark and maintaining the Standard Quality of their 
Athletic Goods, is, therefore, as obvious as is the necessity of the Government in maintaining a Standard Currency. 

Thus each consumer is not only insuring himself but also protecting other consumers when he assists a Reliable 
Manufacturer in upholding his Trade-Mark and all that it stands for. Therefore, we urge all users of our Athletic 
Goods to assist us in maintaining the Spalding Standard of Excellence, by insisting that our Trade-Mark be plainly 
stamped on all athletic goods which they buy, because without this precaution our best efforts towards' maintaining 
Standard Quality and preventing fraudulent substitution will be ineffectual. 

Manufacturers of Standard Articles invariably suffer the reputation of being high-priced, and this sentiment is fostered 
and emphasized by makers of "inferior goods," -/ith whom low prices are the main consideration. 

A manufacturer of recognized Standard Goods, with a reputation to uphold and a guarantee to protect, must neces. 
sarily have higher prices than a manufacturer of cheap goods, whose idea of and basis of a claim for Standard Quality 
depends principally upon the eloquence of the salesman. ^y^ 

We know from experience that there is no quicksand more unstable .^^^^^^^^^ /^ * .^ 

than poverty in quality— and we avoid this quicksand by Standard Quality. ^•vC^^ <^*<*^^'**<^j>5^^^^^- 



STANDARD POLICY 

A Standard Quality must be inseparably linked to a Standard Policy. 

Without a definite and Standard Mercantile Policy, it is impossible for a Manufacturer to long maintain a Standard Quality. 

To market his goods through the jobber, a manufacturer must provide a profit for the jobber as well as for the retail 
dealer. To meet these conditions of Dual Profits, the manufacturer is obliged to set a proportionately high list price on 
his goods to the consumer. 

To enable the glib salesman, when booking his orders, to figure out attractive profits to both the jobber and retailer, 
ihesff'high list prices are absolutely essential; but their real purpose will have been served when the manufacturer ha* 
secured his order from the jobber, and the jobber has seciyed his order from the retailer. 

However, these deceptive, high list prices are not fair to the consumer, who does not, and, in reality, is not ever 
expected to pay these fancy list prices. 

When the season opens for the sale of such goods, with their misleading but alluring high list prices, the retailer 
begins to realize his responsibilities, and grapples with the situation as best he can, by offering "special discounts." which 
vary with local trade conditions. 

Under this system of merchandising, the profits to both the manufacturer and the Jobber are assured'; but as there is 
no stability maintained in the prices to the consumer, the keen competition amongst the local dealers invariably leads to a 
demoralized cutting of prices by which the profits of the retailer are practically eliminated. 

This demoralization always reacts on the manufacturer. The jobber insists on lower, and still lower, prices. The 
manufacturer, in his turn, meets this demand for the lowering of prices by the only way open to him. viz.: the cheapening 
and degrading of the quality of his product. 

The foregoing conditions became so intolerable that,1l7 years ago, in 1899, A. G. Spalding & Bros, determined to rectify 
this demoralization in the Athletic Goods Trade, and inaugurated what has since become known as "The Spalding Policy." 

The "Spalding Policy" eliminates the jobber entirely, so far as Spalding Goods are concerned, and the retail dealer 
secures the supply of Spalding Athletic Goods direct from the manufacturer by which the retail dealer is assured a fair, 
legitimate and certain profit on all Spalding Athletic Goods, and the consumer is assured a Standard Quality and is 
protected from imposition. 

The "Spalding Policy" ia decidedly for the interest and protectibn of the users of Athletic Goods, and acts in two ways: 

FIRST.— The uteris eunreJ of genuine OfficUl Standard Athletic Goods. 



quantity and absolutely maintain the Spalding Standard o£ Quality. 

All retail dealers handling Spalding Athletic Goods are requested to supply consumers at our regular printed catalogue 
prices— neither more nor less — the same prices that similar goods are sold for in oiir New York. Chicago and other stores. 

All Spalding dealers, as well &s users of Spalding Athletic Goods, are treated exactly alike, and no special rebates or 
discriminations are allowed to anyone. 

This, briefly, is the "Spalding Policy." which has already been in successful operation for the past 17 year^ and will 
ba indefinitely continued. 

In other words. "The Spalding Policy" is a "square deal" foi everybody. 

A. a SPALDING 8c BROS. 



^^^^^^^^^^^ LIBRftRY OF CONGRESS 

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"e'See Siel 877 8 t 
ATHLETIC LIBRARY 



v«.i;e book covers every Athletic Sport 
and is Official and Standard 
Price 10 cents each 



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